IzumiI hope it will expand through various connections, such as music and fashion, leading to 'contact.' But 'contact' is a great word, isn't it?

FukutomiOriginally it means 'to get in touch,' but it also means 'communication' or 'contact point' in an electrical context, so I thought it was perfect and used it.
At first, we set the theme around various 'common points.' However, there wasn't a word that perfectly expressed that. So, shifting from 'common points' to the perspective of 'contact points,' we arrived at the word 'contact.' It expands through collision, and it's precisely about communicating with people. Connecting with someone, understanding each other. Then it all came together in terms of building connections.

IzumiIn that sense, all the events of this project embody that concept, don't they?

FukutomiYes, they do.
Also, on a personal note, when I bought an iPhone, the phonebook section is expressed as 'contacts.' It simply means contact information, but I want to increase these contacts through music.



IzumiAlbums have a very strong ripple effect, don't they?

FukutomiI wish they did, but they don't as much as you'd think (laughs).
In my case, it tends to become narrow and intense. My work is a part of myself, so it's truly appreciated when people understand it. I think it's the same for you, Izumi-san. People gather around your clothing or other things you're involved with. That's how it works, I believe.
Speaking of which, you didn't have a standalone shop in Tokyo, did you?


IzumiI remember meeting you about 10 years ago when I was DJing at the club "O/D" in Fukuoka. You happened to be in Fukuoka for another event, and we were able to greet each other.
At that time, you were releasing works on JAZZANOVA's label "JCR," and after UFO, you were doing something that made me proud as a Japanese person. When I traveled abroad for work, what I most desired was for Japanese people to reach a fifty-fifty cultural level. I was aiming for that through clothing, but you were already doing it through music, and I remember drawing spiritual strength from that.
The impact at that time was so great that I hoped we could meet someday. Later, in Tokyo, when I was invited to dinner by Alex from JAZZANOVA, Clara Hill the singer, and people from ROOM, you were there. Since then, we've bumped into each other on the street...

FukutomiWe bumped into each other in Nakameguro (laughs).

IzumiIt was like, 'Ah!' (laughs).

IzumiThank you (laughs).
When an artist who expresses high-quality music says that, it puts good pressure on us on the clothing side to achieve even higher quality. We want to pursue not only the visible quality of sewing and fabric but also the comfort and the conscious aspect, the mindset.
We are currently in the process of exploring how to communicate these feelings to a wider audience with a modern sense of balance.

FukutomiBut if this shop had existed earlier, I might have bought MINOTAUR clothes sooner. When the shop is in an easily accessible location like PARCO, people who want to see the clothes can come in easily. Moreover, it's not just one brand in a select shop; it's a store where you can understand what MINOTAUR is.
I think that's a really good thing.
It's more about people understanding it by seeing it, rather than just spreading it.



IzumiYes. In the future, we want to further pursue the balance of cost performance while maintaining high quality.

FukutomiCost performance is difficult, isn't it?
Indeed, some MINOTAUR clothes can't be sold for 10,000 yen. If we produced more, the price could probably be lowered.
With music, regardless of how much effort is put into it or how simple it is, the selling price is the same. Whether it's made alone at home or using studios and equipment worth millions, the price is the same. There are good and bad aspects to this.

Currently, the quality tends to be higher with "small-scale handmade" production. It might be different in America, but in Europe, handmade works that are not influenced by money tend to spread more widely.
In America, it's more about promotion than the work itself. However, I think it's okay for CDs to have different prices. I think a world where only 100 copies are released for 10,000 yen is also fine.

IzumiThat kind of nuance comes up frequently, doesn't it?
Personally, I have many other things I'd like to discuss in mind, but I hope we can do so leisurely next time.

FukutomiAnytime! I'll talk as much as you want as long as there's alcohol. Though the same conversation might go on for about five hours (laughs).

IzumiOnce the tour settles down, I'll "contact" you (laughs).

FukutomiUnderstood (laughs)!

IzumiThank you for your time today.





Yukihiro Fukutomi "Contact" Release Tour & DJ SCHEDULE

November 21 (Fri) @ Fukuoka Kieth Flack with arvin homa aya, Kentaro Takizawa
November 22 (Sat) @ Kumamoto INDIGO with arvin homa aya, Kentaro Takizawa
November 28 (Fri) @ Sapporo mole with akiko, JABBERLOOP
November 29 (Sat) @ Kanazawa manier with IZUMI(MINOTAUR), TR, BRISA
December 06 (Sat) @ Shibuya The Room with Shuya Okino (Kyoto Jazz Massive)
December 20 (Sat) @ Aoyama LOOP with Kentaro Takizawa
December 26 (Fri) @ Mie Subway with akiko
December 27 (Sat) @ Nagoya mago with BRISA
December 28 (Sun) @ Shibuya, module
December 31 (Wed) @ Tokyo International Forum with DJ SPINNA, DJ KAWASAKI, Kentaro Takizawa, and others
January 24 (Sat) @ Nagasaki Ugetsu with arvin homa aya
January 30 (Fri) @ Hiroshima MUGEN with Lady Alma (from US)
February 20 (Fri) @ Kobe troop cafe with akiko

January 31 (Sat) Release party decided at Daikanyama UNIT, Tokyo!
Guest Live: Lady Alma (from US)



The urban life line of fashion brand "MINOTAUR"MUG's products

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